SharpShooter Loc: NorCal

I ask!
SS

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You quit the job. That's how you handle
failing to deliver. You blow it, you're done.
No do-over.


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E.L.. Shapiro Loc: Ottawa, Ontario Canada

Fine portraiture is my first love in photography. That's why, although I have branched out into many othere professional areas in the business, I still, after over 50 years, offer portrait work at my studio. So take this from an old guy who as been at it for a lifetime.

Portraiture is tough stuff- it ain't alwas easy because you are not only only dealing with a good deal of technical issues- camera handling, lighting, posing retouching- the basic stuff but you are dealing with people's vanity- egos, self image, taste, self confidence a or lack thereof of any of theses psychological aspects or attributes. Once you master, at least, some of the techniques, you need to be ready to be a professional photographer and an amateur psychologist, entertainer, wardrobe master, family counselor and so much more depending on what day of the week it is.

An ounce of prevention is worth a pound of cure- so goes the old adage and when it comes to portrait photography, you need a TON of prevention. In most cases, I won't embark on a portrait assignemnt without a an advance pre-setting consultation so I can find out exactly what folks expect and make certain that I can deliver it. Since most portrait sessions are not impromptu or candid events and we can get to plan things out, it's important to carefully orchestrate everything such as location, time of day, clothing choices, makeup, hairstyle, props and whatever else is vital to success and customer satisfaction. It's especially important to prevent and preclude whatever can go wrong so we need to head off Mr. Murphy at the pass.

Post processing and retouching, as we called in in the olden days, is certainly a part of successful portraiture but it can also be an unmitigated nightmare. So again- shooting technique and planning to the rescue! Controlling the aesthetics before and during the shoot, avoids radical correction after the fact. My theory is that so many aesthetic issues can be addressed in posing, lighting, perhaps some soft focus or diffusion, employing flattering camera positions (angles) and developing a fluid and fast technique that captures expressions and relaxes the subjects- it's bad if you fumble with your gear and lights and end up "torturing" the customers. You gotta also develop eagle eyes and become a incessant fusspot when it comes to attention to detail and be on the lookout for wrinkled clothing, crooked neckties or necklaces, seemingly ill-fitting garments, bad postures, and whatever else may come back to haunt you in post processing and worse- when it comes back to bite you in the rear end when selection of the "proofs" as we used to call the original images, are scrutinized by a dissatisfied customer. If you are in the BUSINESS, you want good sales. If you are hobbyist or enthusiast and doing it for free- at least, you want accolades and appreciation rather than disappointment and aggravation.

"Retouching" can be a dirty word! There is nothing wrong with all the softening and whitening stuff that it at our disposal. The digital and electronic methodologies are wondrous. Problem is, many of the younger and newer photographers have no training or experience in the old fashioned manual retouching techniques and theory. We old dudes and and girls were made to understand that good retouching is invisible and does not call attention to itself, otherwise it looks "plastic" and artificial. When we started out we all were a bit overzealous with the lead pencils, etching knives and dies. Me too! That is until my first boss and mentor explained that we are PHOTOGRAPHERS not ELBLAMBERS! Then I got it. The most important aspect of retouching is what to retouch and what NOT to retouch and WHEN TO STOP RETOUCHING! Good retouchers, like good photographers, study facial structures as well. Try to remember that nobody has alabaster complexions and "day glo" eyeballs and teeth and you will be far ahead of the game.

Remember to do "pre-retouching"- if the camera position, pose and lighting are right, if the hair, makeup and clothing are attended to, you won't have to do "plastic surgery, hairdressing, makeup and day cleaning and alterations" on your computer screen which can resulta whole lot of eye strain, a bad case of carpal tunnel syndrome and a terrible pain in the gluteus-maximus. You portrats will look more natural and lovely too!

Regards!

Architect1776 Loc: In my mind

These are the clients photographs.
Never make major change without asking first or at worst show original and a heavily modified version.
Many "Pros" regardless of profession think that they know better than the client. I get most of my architecture jobs because the client says I was the first professional they talked to that listened, asked questions, made an effort to understand what was being really asked for etc.
Never ASSUME.

billnikon Loc: Pennsylvania/Ohio/Florida/Maui/Oregon/Vermont

Welcome to client photography.

dcampbell52 Loc: Clearwater Fl

I always show the client the unedited pics first then explain what I can do. I will even do a couple of "ink jet" prints of one or two of the "more promising" photos and then use a grease pencil to draw proposed crops on them. This is just to give the client an idea of what can be done. Then, I will make a "second" sit down and show those images cropped. This is one reason that I love Adobe Lightroom.. I can create a couple or three virtual copies and edit each separately. Then I can set the client in front of the computer and make edits to the image with them there. Finally, I will make an inkjet "final" print of the image and have them sign off (on the print) that this is what they want. If they change their mind later.. there will be additional editing charges. OH and the customer NEVER/EVER gets a copy of the raw/jpg of the images. They get Prints only, unless they want to pay extra.

jerryc41 Loc: Catskill Mts of NY

I did a shoot for a local playhouse - head shots - and I ran the pictures through Portrait Pro. They absolutely loved the results. Generally speaking, people don't like the way they look. I would suggest that in the future, you find a tactful way to ask if your client wants to look "better."

James R. Kyle Loc: Saint Louis, Missouri (A Suburb of Ferguson)

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YES! = Correct way.

See Photo Attached ---- The Marks of Age. (Does my shirt need Ironing?)

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Toby

I don't do many portraits but when I do I use these rules. If there is a temporary condition i.e. blemishes I will remove them if there are only a few. If many I will lighten them slightly (more if requested). I never remove moles or other permanent marks unless requested. As for the eyes I try to brighten the whites and iris only very slightly. I also whiten teeth slightly. My goal is to have a great portrait with nothing standing out. All features are basically normal but as seen on their best day. You cannot tell I made an adjustment unless you look at the before and after files.
I may take one photo and put extra editing into it just to show customer what can be done but explaining that I don’t think it is necessary so as to not insult them.

NCMtnMan Loc: N. Fork New River, Ashe Co., NC

Most of us guys have learned that the answer is always "You look great!" Do not ever point out any short comings. They already know how it looks, and they will change it if they choose to.

JohnSwanda Loc: San Francisco

I do business portraits, and I do very light and subtle retouching without asking that I feel will not be noticeable unless viewed side by side with the original. Anything more I do if they ask about it. I never get complaints that I did too much. My goal is when someone who knows the person sees the photo, they will say, "that's a really good photo of you".

James R. Kyle Loc: Saint Louis, Missouri (A Suburb of Ferguson)

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"Minimalism" -- A LITTLE Goes a LONG Way. :-)

Good Avice.

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drklrd Loc: Cincinnati Ohio

Monte Zucker was a great photographer and did many seminars. I loved the fact that he would after a seminar sit around with the studio and freelance photographers and discuss business and posing. Same went for David Ziser.(hope I spelled his last name right)

burkphoto Loc: High Point, NC

Proofs...

In the film era, we made 4x5, 4x6, or 5x5 proof prints of color-corrected but unretouched negatives.

Today, it is more common to have a client come to your studio and view the proofs on a big, calibrated and profiled monitor in a controlled setting.

I don’t finish beyond basic color adjustment before I get an order. Retouching is a chargeable service, and very personal. So the client should tell you what to fix.

Wrinkles in clothing should be dealt with before photography. Note wrinkles on site, and offer a chance to change or iron. OR, carry a few sizes of typical clothing.

Better studios will use a pre-photography brochure to suggest actions such as:

Schedule a haircut appointment a few days before the session. Bring several changes of clothes. Iron wrinkled fabrics. Read our retouch options. Here’s what to expect...

Inform ahead, never assume, and leave as little as possible to chance.

Finally, avoid offering more options than you can count on two hands. To do so is to encourage indecision!

josquin1 Loc: Massachusetts

something a mortician might do.